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or whatever, that is not in conflict with what you're doing? >> no. >> it's not a conflict for us. >> are you open year-round, and do you have a brochure? >> yes! [laughter] >> i think it's interesting, because we've just been through a session on judaism - the ancient myths and rituals stories - and both starhawk and margot adler - came out of intellectual, atheistic, radical jewish families. they are, in a sense, the contemporary flowering of judaism, in the sense that they are returning to very ancient roots, that old rock upon which all the world's religions, i believe, have been based. >> now which changes not. >> huh? >> now which changes not. >> ah, yes. >> well, the jewish tradition, in other words, is fulfilled in both margot adler and starhawk - they're both jewish. >> yes. >> that's the point i made. >> yeah, and i think that does also fit - back with judaism, we were talking about different interpretations of the genesis story, the alienation story, and i love your myth about leaving the fires, leaving it and going out and becoming, so that more relationship could happen, more int
islam and asking islam to help us understand doctrine and ethics and social dimension. and in this class- i keep saying we have extraordinary classes, but indeed we do today- we're going to look at the african-american muslim movement, sometimes called the black muslim movement, nation of islam. and we're just absolutely thrilled- later in this class, we have imam wd mohammed, who will come in and handle not just questions about african-american muslim movement, but islam in general, so that's really something to look forward to. what i wanted to do was to set this up, if we could go to the graphics, to look at one of our key themes. now, not just speaking about the nation of islam here, we're speaking about islam and religion in general, as is our way in this class, but we think about identity and relationship. well, what if we talked about identity and self-esteem and relationship as empowerment? that's what i think we're seeing when we're talking about the african-american muslim movement. in other words, identity is self-esteem- a person must feel good about themselves- and relations
: a state of compulsive physiological need for a habit-forming substance. narrator: the use of illicit drugs is increasing in many parts of the world, especially in urban areas. and arising from this increase are a host of social and health relatedroblems connected with drug abuse. one is, of course, the risk associated with the abuse aspect, especially of injecting drugs and risk of infection; the criminality which is associated, and the violence which is associated with e of drugs; and then, of course the mental illness that appears to result also from prolonged drug use or even sometimes short-term drug use. the populations that are most affected are poor populations and nority populations. narror: the specter of poverty hovers in the background of the drug world, but it is far from its only setting. drug use is as familiar to suburbia and the corridors of big business as it is othreets. the reality is drug addiction infiltrates all segments of humanity. the main common feature that we see across different types of addiction is really a commonality in characteristics of the addictions rat
, this is "democracy now!" >> for us it is indigenous peoples day. the first to be contacted by columbus to be impacted by the colonial machines that was set in motion after that initial contact, we're here to said that columbus is not a day. we're here to join with other people's voices in sanger needs to be an end to the cycle of colonialism. >> reconsider, stay. as a nation commemorates the arrival of christopher columbus to the so-called new world in 1492, students and professors at fort lewis college in durango, colorado, are pushing for the teaching of the real history of the americas. we will be joined by a round table, then dennis banks, the legendary native american activist and co-founder of the american indian movement. >> there is a complete massacre of an entire village and community and human beings, whole tribes were wiped out. that is how i view genocide. >> all of that and more coming up. this is "democracy now!," democracynow.org, the war and peace report. i'm amy goodman. we're on the road at fort lewis, .ewis college credit a venezuelan president hugo chÁvez has won his fourth pres
-care centers-- and we'll listen to their teachers as they describe some of the methods they use to enhance their children's learning. what's in there? what is that? [bell jingling] what is it? what is it? is it a sponge? hendrick: the foundations of learning begin right here because children begin to learn right from the start. the most important thing i believe we can teach our children, no matter what their age, is that they are valued. hi hi, sweetie. oh, no! ♪ one wheel's off, and the axle's broken ♪ ♪ one wheel's off, the axle's broken ♪ ♪ one wheel's off, the axle's broken ♪ ♪ now we can't ride phillip, how can we fix it? with a, um, wrench. how does a wrench work? show me. whoosh. can you guys do that? hendrick: unless children have this basic sense of self-worth, i believe it's unrealistic to expect them to open themselves to and embrace the challenge of learning and problem solving. the more traditional and conventional way to teach children is by providing lots of facts and information, often originating from books, work sheets, and flashcards. this is how we learne
, sort of lent us confidence that really, there wasn't much that we couldn't do. as a result, the center began to diversify, to broaden its focus. and so we expanded into chronic disease areas. the national institute for occupational safety and health was incorporated into cdc in the early 1970s. much more recently, we've gotten into areas surrounding injury control and prevention. and of course we realized in the last few years that the infectious disease agenda is not over. certainly it's not in the developing world where it still causes a very heavy burden. apart from what aids is doing as probably the most egregious example that we've seen in our lifetimes, having surpassed malaria as the largest killer of people in africa, is tuberculosis, for which we've had good drugs, haven't used them wisely or enough in years past to reduce some of the problems that we're seeing today. and that's getting more and more serious now with multiply resistant strains of tuberculosis. tuberculosis is the most common infectious agent worldwide, and that has not changed. that is, of course, particularly
culre; and how bali's distinct cuure fits into the complex diversity of indonesia. still use the methods passed down from their grandfathers. but life around them is chaing. it's a lot greener yeah! look athan i thought all those coconut trees. some of those roadside stalls look interesting. yeah, might do those tomorrow. still haven't worked out the money though. ( people clamoring, airport announcements ) narror: balias bn a ist mecca for more t50 years. still haven't worked out the money though. ( people clamoring, turistsng money and jobs, wod. but they also bring with the dierent cultural values. tourist: ...with the headdress. they're hindu ladies. what's the ligion here? uh, they're muslims. naator: mainining a strong sense of identity uhs been a challenge for bali as it embraces economi de. there seem to be an awfulot o tourist buses, too yeah, i've seen a lot of tourists in tse four-wheel drives, too. tourist: yeah? in tsebecause it's so ar. too. and they like the sun, the beach, the beer and so on. welso y nese who are of placesal ople who are retired who come he for the peace
♪ for information about this and other annenberg media programs call 1-800-learner and visit us at www.learner.org. funding for this program is provided by annenberg media. narrator: 97% of the earth's water is contained in the oceans. some forms of life flourish in this salty environment. but humans require an abundant supply of freshwater. less than 1% of all the earth's water is readily available for human consumption. in the semi-arid desert plains of the southwest united states, where rainfall averages just 2 1/2 centimeters per month, tom maddock studies this scarce resource. dr. maddock: the real problem that we have is that with increasing populations and shortages of water, we are becoming very vulnerable. in the southwest, there's a very unique vulnerability here, simply because where do we get the water if there is no water? narrator: across the country in northern florida, the quantity of water isn't an issue. rainfall averages an abundant 1 1/4 meters each year. wendy graham and her colleagues evaluate and model the impacts of industrial and agricultural land use threateni
. in turn, the environment began to have an impact on us. nightly newscasts and morning papers are filled with stories about ozone depletion, water and air pollution, and toxic waste in our neighborhoods. while these problems may seem not to affect us personally, we cannot ignore the health hazards that come with living on an interconnected planet. the environment is a crucial factor in the health of each of us. if the environment is not healthy, there is no way we can truly call ourselves healthy. persistent efforts and regulation over the last few decades have greatly reduced environmental pollution. ib: our rivers don't catch on fire anymore. persistent efforts and regulation over the last few decades we don't have big, black plumes in most communities in america. we don't see slicks going down the great lakes. so people believe, because they don't see it, that, somehow, we're in a better state now than we ever were before, and the truth is, that all we've done is cosmetic surgery. we have scraped off the surface and made that look pretty, but beneath it are the invisible chemicals tha
, of using lighting techniques to alter space psychologically. you can't underestimate the german influence in it all. and all the german expatriates who were filling the ranks of the hollywood crafts as well as director and writer. and they brought with them a dramatic and visual tradition that was very different from the more vaudeville or the more showman tradition of american films of the time. (john bailey) fritz lang did a trilogy of early gangster films, of the mabuse trilogy which had tremendous influence, not only in german cinema, but also in this country. even going back before that, "the cabinet of dr. caligari," the sets were built in false perspective. tremendous sense of light and dark contrasts. tilted angles, foregrounding of objects. these became very prominent, i think, in film noir. (abraham polonsky) objects are not things that happen to be in a room. objects are things that we deal with in living. so floors are objects. the position of people towards each other are objects. when you make a movie you pay attention to everything all the time, or you're not making a movie
us that pope urban viii is a great and worthy man, but also that the ideals of the classical world have been subordinated to the values of triumphant christianity. every figure in this swirling panorama has meaning. the scenes painted around the sides of the ceiling tell stories extolling the pope's virtues. his unyielding battle against heresy is here symbolized by athena destroying insolence and pride in the shape of the giants. here his piety conquers lust and intemperance, represented by the satyrs. like the artists of the renaissance, cortona uses the vocabulary of classical antiquity, but draws his figures naturalistically, with lifelike vigor and sensuality. the architectural elements are not real but are painted as if they were. they blur the distinction between real and illusory space, at the same time suggesting hidden depths out of which the painted figures seem to tumble. overlapping layers of light and dark create a sensation of breathtaking movement. in this one ceiling, we have all the elements of the high baroque style-- a clearly defined program, a dynamic and dram
, and join us for circle time, ok? he's never had to do that before. so you guys are going to be what for him? child: teachers. good job. ready, guys? here we go. ♪ up on a mountain, two by two ♪ ♪ up on a mountain, two by two ♪ ♪ up on a mountain i bet some of my friends ride their bikes in the springtime. child: i do! do you? yeah. hendrick: and let's keep in mind how important consistent but flexible daily routines are to our children with special needs. children with learning delays, children in wheelchairs, and children unable to speak especially need to know that their needs will be tended to in a responsive, consistent way and that if they need a little extra time or assistance, their teacher will help. no, not look at it. take it to your mouth. good girl. lay it down. good girl. [girl crying] hendrick: we begin our examination of daily routines with one of the first events of te day. does this look familiar? there comes a point in almost every baby's life when she feels very strongly about being left by her parent. often referred to as "separation anxiety," the child might s
of september 11, china drew at least temporarily closer to the u.s. the reason: beijing fears separatist forces in their islamic western provinces. china has a delicate relationship with its ethnic and religious minorities. to understand the interactions between two asian cultures, we travel to the frontiers of han and muslim china with its ethnic and religious minorities. in the city of lanzhou. but lanzhou's location-- and its future-- on this frontier have much to do with the region's physical geography and naral resources. ( blowing heavily ) narrator: for centuries in this part of china, rafts like this were an important means of transportation. made of sheepskin, inflated and tied together, these rafts, called yangpi fazi, navigated the huang he, or yellow river. by looking only at the huang he, you might think lanzhou is a wet place. in fact it only receives about 12 inches of rain a year. geographer chai yangwei, in the green, follows these farmers to see how they cope with such low rainfall. peculiar to agriculture in this area, these are called "stone fields." a thin layer of stones i
made a rainbow using your prism. you try it. ok. i'll try it. hendrick: you'll be surprised how many new ideas and approaches can come from these discussions. i do see a rainbow. it's very pretty. in and out of the classroom, we should look for ways to provide multi-ethnic, multi-cultural, and other community experiences for our children. woman: and you know what? we're going to have a very special visit today from linda from in the butterfly room. did you know that linda is chinese? she's going to come over. she's going to cook with us today. yeah. we need to put it on the foil. hendrick: we've learned that the more variety of experiences children have in their lives, the wider the range is of creative expression. the more personal experiences our children have with people and situations outside of their own environment, the more material our children can draw on to incorporate in their play. and the father said, "it's dinnertime! it's dinnertime! it's dinnertime!" hendrick: our challenge is to try not to be afraid or intimidated by the variety and diversity of artistic expression i
africa and southwestern asia takes us to egypt. here, as throughout this region, the presence or absence of water has profoundly influenced patterns of human settlement. the nile river is egypt's lifeblood. people here cling to its path through the desert and cluster in its broad delta. our case explores human modification of the environment as humans harness the mighty nile through projects like the aswan dam, lake nasser and the new toshka canal; the move from subsistence to commercial agriculture; and how an expanding population in the nile river delta is encroaching on the area's remaining precious farmland. from space, the earth can seem an abstract pattern of color and shape, but as we look closer, environmental processes come into view. here the rain of east-central africa collects in the giant lake victoria. its waters drain to the north, giving rise o of the world's great rirs, the nile descending from the african highlands, the nile winds through one of earth's most arid landscapes. coursing through the vast desert of northern africa, the waters of the nile nourish a ribbon of
, of course, they were using it to express all of these other things. they wanted to anchor their history, their kings and their wars and records of these things in cosmology. so this image of the stargazing maya, the priest astronomers obsessed with time, this is a bit of a false image. (narrator) in 1946, the photographer giles healey went to chiapas to make a film about the lacandon indians. they led him to a group of temples perched atop ruined pyramids at bonampak. the interior of the largest building on the site was sheathed in wall paintings that shattered the peaceful image of the maya. (mary miller) when they came to light in forties, at that moment, everyone had thought that, "oh, the maya had lived in a time of peace. they were people of enormous decorum and personal reserve." and suddenly, when these paintings emerged on the scene and you could see that they were, in some ways, intimate portraits of life at court... but most of all that there was warfare. (narrator) in 1952, a second discovery, this time at palenque, further changed modern conceptions of the maya. mexican arch
about one of the super bowl halftimes, because it's such a great example, and i would have loved to use this videotape, but we would have had to pay thousands of dollars in copyright fees, so i'll just have to describe it. but that's the idea of the sacramental. performative - our last feature, obviously - it's things that people do. and as janet said, i think that's one of the reasons it's such a primary function in terms of symbols, because people can get involved with it, they look forward to it, and really, they can count on it, they can count on it. and that brings us to our last feature here, it's repetitive. and as rabbi bronstein said, and we've heard in so many other instances, rituals are repetitive in two ways. now one, i use this term liturgical - i hope you're okay - that word is just usually the cycle of events, as people go through a year, you will count on those - the holidays, the rituals, the ceremonies, and we look forward to them; they bring meaning. talking about our - back to our wrestling - our tag team wrestling, the world wrestling, the lack of myth. well, we al
) i was lucky enough to get the only film of the enemy fighting against u.s. forces taken during the whole war. here's one of them. here's a squad of them. (norm hatch) i'm proud to say that that film of mine has been used probably in every film on the pacific made. (dramatic music playing) i'd like to know where the rest of the squad went. what's this? (machine gun firing) whatever it is, it ain't healthy! let's get outta here! (thomas doherty) because so many americans knew the second world war not in a full combat experience -- they'd certainly seen newsreels and combat reports of the time. that was a close one! they would no longer accept a backlot rendering of the war. so there is a movement toward what you'd call verisimilitude in the post-war era. (thomas doherty) these films often incorporate some newsreel footage. (gunfire and explosions) (leonard fribourg) i received orders to report to the studios. they'd made arrangements with the marine corps to get all the footage out here that they could look at that had been taken during combat in world war ii. we watched the film
capable of language, creativity, and thought. the differences among us lie in our cultures, our beliefs, how we organize our societies and how we make our living. humans have populated every environment on earth. we live on the frozen tundra and in the searing deserts. we live in thriving cities of millions and in isolated camps of a few dozen. some societies seem simple because they are small and their members are self-sufficient and use simple tools. others seem complex because they have large populations and people depend on each other for food and goods and use sophisticated technology. in between, there is a range that fills the spectrum. all of these differences are cultural, learned behavior, the result of a complex interaction between our inventiveness and our natural environments. as we search for new horizons, our inventiveness thrusts us across the boundaries of space, into new worlds. this new view of earth dispels an ancient myopia -- the artificial boundaries of our states and the politics that often divide us. here is a vision of one planet and one family of humankind. bu
recording time, of course, they were using it to express all of these other things. they wanted to anchor their history, their kings and their wars and records of these things in cosmology. so this image of the stargazing maya, the priest astronomers obsessed with time, this is a bit of a false image. (narrator) in 1946, the photographer giles healey went to chiapas to make a film about the lacandon indians. they led him to a group of temples perched atop ruined pyramids at bonampak. the interior of the largest building on the site was sheathed in wall paintings that shattered the peaceful image of the maya. (mary miller) when they came to light in forties, at that moment, everyone had thought that, "oh, the maya had lived in a time of peace. they were people of enormous decorum and personal reserve." and suddenly, when these paintings emerged on the scene and you could see that they were, in some ways, intimate portraits of life at court... but most of all that there was warfare. (narrator) in 1952, a second discovery, this time at palenque, further changed modern conceptions of the maya
religious have a problem with the secular world, and for others, like us, it's difficult to see where that demarcation is, that line between what is the mundane, what's the ordinary, and what is special and what is sacred. and we've talked about iliade and looking at symbols and we've looked where people have gotten holy symbols. but for some groups, building a doctrinal- i don't know if wall is the right word, but the brain isn't quite working yet, so we'll use wall- but they build a doctrinal wall between the secular and the sacred world. and we could pick many, many different groups in order to look at that, but two that people seem to have a lot of interest in and i want to look at today in this class- first off, the amish, the old amish. people know of them if nothing else- the hit movie witness seemed to have brought them out on the map. so we'll look at the amish, but also the mormons, and look at two very different ways that groups have gone about this task of keeping the secular and the sacred apart. now the amish, of course- we'll do them first- but with the amish, they lite
. you know, he's gone back to selling used cars, and i don't think he reads the bible any way. but no, the story in there, the power of it, is what we're looking at in myth. and again, like we said, you could just imagine how people reading that could pick up on the things that were so important to them. another thing is, oftentimes people will say, "oh, america is a christian nation." and 88 percent of the people who are some form of religion in this country are christians, so you can say anything you want, i suppose, and get away with it. but not really so, a christian nation, because the first amendment to the u.s. constitution separates church and state. however, i always like to say, "well, in some senses, it's a christian nation, but it most certainly is a jewish nation, because that whole creation, liberation, exodus, making of a holy land - we've got towns around here called zion or new canaan or whatever - what the whole drama - and again, i'm not making this up, folks, as dave barry would say - the ministers on the boats, like the arabella , coming into the plymouth colonies
into portraits of a gas lit world fuelled by restless energy. he could use his very fluent draftsmanship to give a sense of the most immediate, the most spontaneous recording and projecting of something seen in the modern world. that economy also spreads to the devices he uses, which bring the spectator of his works into the game. "i recognize that. i know that that's very up to date. i understand it. i am modern like the artist." and it's that interplay that he generates between the spectator and his audience that is very, very modern. (narrator) the painter of montmartre's decadence had an aristocratic start. born in 1864, henri raymond de toulouse-lautrec came from a noble and distinguished family-- count raymond of toulouse had helped capture jerusalem in the first crusade. henri's branch of the family came from the red-brick city of albi in the south of france. henri grew up in a world of chateaus and privilege in a family living on the fruits of its noble past. but a france governed by the middle class was losing its taste for nobility. like many aristocrats, his father alphonse retreated
waters are a pot of gold. laos produces far more electricity than it can use. the surplus, approximately 80% of the power generated, is sold to thailand at a profit. the dream is on a grand scale: laos emerging to the world on an electricity-led boom. inthavong: narrator: the hydroelectric business could make enough money but laos can't payveme for construction stanrdr of the dams and generators. traditionally, around the world, dam construction took the form of massive public projects-- grand symbols of national development, like egypt's aswan dam. but laos is following a new model-- privatization. woman: globally, there's a trend towards privatization of water resources, and in laos this is taking the form of hydroelectric power generation. not only is laos able to export electricity in and therefore earn hard currency-- which is necessary for it to be involved in the global economy-- but also, since the government of laos doesn't have the resources necessarily to develop large-scale hydropower electric dams, the... it's being increasingly carried out by private corporations. narrator:
of the faith. for the jews, it's the city of david. for me, it is the city in which jesus died for us and rose again from the dead. this is the beauty, but also the paradox and sometimes the tragedy of jerusalem: one city; two people; three religions. it could thus be a wonderful sign of oneness for which the whole world strives, a situation of peace or a sign of opposition. narrator: as a place of religious significance, jerusalem has few equals. but the conflict here is more about nationalism than religion. the modern story begins with upheaval not here, but in europe. in the 1930s, a growing number of zionist jews immigrated to palestine in search of a homeland safe from nazi and other persecution. they dreamed of a jewish state. but the lestin wanted their own state, too. after world war ii, the united nations proposed dividing palestine into a jewish state with slightly more than half the land, and a palestinian state with 45%. jerusalem and bethlehem were to have special status under united nations jurisdiction. in 1948, the pace quickened. at midnight on may 14, the british withdrew. so
in this period of time. siqueiros uses a structure called polyangular theory. in that position -- you fall into his position. then all the corners of the wall disappear. the project that i'm working on now is a mural i designed for the usc student center with input from the latino student body. this mural is the focal point of a long struggle for the students at usc, who have struggled to assert their presence both in numbers and in sensibilities. we will use these lines to take to the center of our figures. and he figured them in mathematically... i call myself a chicana, because being a chicana means that i understand that i am in a position of the resistance of assimilation, essentially saying we will maintain our sensibility, that we are border people, that we live in the space between both the united states and mexico, that we are of neither and of both, and that we are, particularly, a people who...have a political point of view. and this is essentially the bones of the work. this will be like the bones -- what will hold the whole piece together so that not any part of the image will
's the same. basically, all native americans believe in the mother - the mother earth. the females created us; without the females, we wouldn't be here. and that's the same way we believe we have a lot of respect for the female - the females. >> yeah, as you said - and i love this image with the sweat lodge - you're actually moving back into the womb, back into the mother earth. >> yeah, that's grandmother earth's womb. >> yeah, that's an amazing, concept in that area. question? >> yeah. i thought first you said your son was being raised in your wife's religion. >> no. >> now, it's just the opposite i hear. is it usually through the mother's religion, or each family decides which way the children will be raised? >> basically, it goes with the father - the father. and like i say, he's been raised - >> because you're ojibway. >> yeah, ojibway all his life, so he sings - i'm teaching him the songs of the ojibway. but yet i'm learning from my wife of her songs and i'm trying to learn - her language is one of the hardest languages to learn, the northern cheyenne tribe. >> the marriage ceremony, is
great class here on islam- we're going to be asking another world religion to help us understand the doctrinal dimension. but we're having so much fun and we've had such an interesting set of classes that i'd just like throw it out- whatever "it" is- once again to this great audience, and any observations you've had since we last met that bring up some of our key class themes- we're always getting some interesting comments here. yeah, virginia? >> i wasn't going to say anything this week. however- >> why not? >> i've found that- i opened new yorker, and here are political cartoons on our meditation- one thing, it says, "our journey." you know, he says, "have we arrived yet?"- these little children sitting there in meditative poses. and when we were talking about the dome of the rock, there's a spread in the magazine about that. everything seems so current now. >> you begin to see these things once you- it reminds me of my geology class. you know, i took geology to get through my general ed, and just taking that course, it helps me see more in the natural environment, and hopefull
feet per second. most of the world uses cubic meters per second moving down the channel. discharge increases from the head of the stream to the stream mouth as the drainage basin increases. there's simply a larger area to contribute discharge, to contribute flow to the streams. the primary way that a river functions geologically is to transport not just water, but sediment, down slope and toward the oceans. the faster a river flows, the more efficient this process becomes, so geologists are acutely interested in flow velocity. when the flow velocity of a stream is relatively high, the energy of the moving water is converted into processes that lift chunks of bedrock or sedimentary particles from the bottom and carry them downstream. this is known as erosion. there are three different erosional processes that operate in rivers. the first is hydraulic action. the turbulence of a rapidly flowing stream applies vertical forces that lift sedimentary grains off of the bottom. the flowing current also pushes against these particles and carries them downstream. if you've ever waded across
.k. it is not o.k. let go of her dress. let go. let go! it's gonna rip. woman, voice-over: how many of us have found ourselves in this situation? girl: i need it! i need it! i need to... woman, voice-over: in the heat of the moment, how do you know what to do, what to say? girl: hi, daniel. woman, voice-over: what can we do to help stop situations from getting out of control and, perhaps even more important, prevent discipline problems from even starting? girl: bye. hello. i'm joanne hendrick. i wrote the book the whole child so that parents, teachers, and caregivers would have an additional source to go to for guidance, direction, and most importantly, for support. our children ask an awful lot of us, as well they should. but just as we need to be there for them, so i hope my book, and now this television series based on the whole child, can be there for you. on this program, the issue is self-discipline and control, and our challenge is to learn how to teach the youngsters in our care not only to know what is right, but to do what is right. [children laughing] hendrick: we all dream about da
. but the reality is that very few people, black or white, ever lived in a white-column mansion. most of us lived in houses much more like these shacks. and i think that beverly has called attention to what's really one of the edominant housing varieties in the sth. she is honoring where a whole bunch of us came from. woman: as a child, beverly would accompany her father, walter buchanan, on his rounds, his visits to sharecroppers' homes and to tenant farmers' homes in his capacity as a state representative for agriculture, as well as for his position as the dean of the school of agriculture at the south carolina state college. woman: and although beverly never lived in a shack, they would get rained in, and beverly would get an opportunity to stay overnight in the shack communities. buchanan: so i was exposed to a lot of practical things. so i saw, you know, calves being born, and horses and pigs and little baby chickens. westmacott: and it may not have meant much to her when she was doing it as a young child, but it certainly has permeated her memory and her work today. and it can be seen in a
in paint, and some best on a sheet of paper or maybe in some very large work. it's all mine, so i use it. what is really endlessly amusing to me is how different an image can be with only the slightest change in it, and how something will look quite strange or other than you expected. here are two images which look so different, and they actually come off the identical drawings. the name of it is "escape." here it is in the full spectrum of colors. and here are the same plates in black, white, and gray. in here, this little bit of energy escapes from the picture plane. here the same thing is happening, but they're like night and day. as an example of how ideas come to me, one day i was riding through the third street tunnel in los angeles, and i noticed it looked almost as though the tunnel were breaking up on both sides. the dividing line down the center sort of rose up and broke into pieces. and as the cars sped by, i realized that off in the distance everything was in focus, but everything was moving in periphery. it made the experience of the tunnel very dynamic. and i could see that
air, sea, rail and port facilities that allow us to bring things in and take things out very quickly and very efficiently. narrator: singapore has the largest container-handling seaport in the world-- number one in sheer tonnage moved and second only to hong kong in container traffic. singapore's location on the stit of malacca puts it on one of the most important transport routes in the world. woman: singapore sits right at the tip of the peninsula of malaysia. it's kind of in between the south china sea as well as the indian ocean. a lot of ships that want to go from the pacific ocean to the indian ocean, they all have to come down through singapore and then cross over the other... to the other side. in that sense, its location is favorable. but it also has a natural harbor with nice deep water, and that has facilitated its port activities. narrator: the port is closely integrated with singapore's changi airport, asia's second-busiest. here, freight is exchanged between air and sea. but for such a busy place, singapore is quite small-- just about 400 square miles, only about a quar
, that was the powerful one. that was the one where we were, oh, wow, we gotta use that one. that's the one. but in the movie, where the camera pans away, that was the more powerful one. you could dismiss the other one because of its shock value. it was easier to explain away. the other one where your imagination takes it is the one that disturbs people. i wanted it to be disturbing. everyone talks about the violence scene in "dogs" as, god, it's just unbearable, people walk out and so on. when i saw it, women just left in droves at that scene. but it does create a selling point. and i think that something people perhaps overlook a bit in this kind of rarefied world of american art cinema, independent cinema is that there still has to be something to sell in them and that's exploitable. (narrator) while tarantino uses the spectacle of violence to propel his story forward, in "one false move," carl franklin portrays violence in a different way. i wanted people to experience a loss of humanity, the invasion of humanity, which is what happens when somebody dies, you know, somebody who was aliv
civilizations. each of these human experiments has changed our planet. this high vantage point brings us a new and sobering view. for the first time, we behold our world as finite, limited. on the darkened face of earth, the lights of cities record the expansion of our kind. just 50 years ago, two billion people lived on earth. today our global population has reached five billion. within the next generation, it will double once more. our exponential growth now threatens the very resources that sustain life. the abandoned ruins of ancient societies hold clues to our survival. but to learn from our past, we must discard a romantic image of these earlier and more simple societies. archaeologist william sanders. a commonly held notion among the public at large and also among some of my anthropological colleagues is that non-western peoples live in harmony with nature, that they have relatively stable environmental relationships. what archaeology teaches us is that that's not true. keach: in the new world, human beings appeared for the first time more than 10,000 years before the birth of christ. o
. and those neutrinos are flooding the universe. and these neutrinos are going right through, guess who? us. you guys, not me, but, no, all of us. these neutrinos are going right through and right out the other side without making a hit. you know why? do you ever get the feeling some days that, you know, i just don't feel like i feel like i'm nothing? i'm nothing. i think i'm just nothing. do you ever get that feeling? guess what? i got news for you. you are nothing. compared to the something, there's more nothing, because the atoms that make you up are mostly-- talk about being spongy-- and we're all sponges, hon. and most--the little particles make up... take 133 million tons. that's several city blocks. scrunch all those atoms up, 133 million tons, scrunch them up until all these things here cave into one another. you got the size of a pea. so take the size of a pea and spread out a city block, that's how atoms are, most of them. so these things go right through our body without ever making a direct hit. you get, maybe, one direct hit per year on the average, one got me, okay? very, very
the cycle of gaining. even if i wasn't eating as much as i used to, i wouldn't lose because i wasn't moving at all. obesit also linked to certain types of cancer. older women have a higher risk of breast cancer if they're very heavy. they have a higher risk of endometrial cancer and their obesity may be, in some way, related to colon cancer, as well, and for men, to prostate cancer. why have so many people lost the battle to achieve and maintain a healthy weight? dean hamer: some people think that it's all a matter of metabolism, that some people have a slow metabolism and that makes them fat. well it turns out that the same genes that control metabolism also control appetite-- these are genes coding for hormones and receptors that are released in response to how much a person eats and how fat their cells are, in essence. it turns out the same hormones and receptors control how hungry you are. so when people eat a big meal, the hormone is produced. the hormone tells the body, "burn off the fat and use it as fuel," and it also tells the brain, "you're full, stop eating." if a person has a pr
there are five depicted. however, they also use their own numbering system. in the case of these copper axes, they use the symbol, a flag, which stands for 20. and in this case with 5 flags they are demanding 100 copper axes. warrior uniforms and shields in the amounts of 1 each and then amounts of 20 each are demanded. this symbol, a feather, represents 400. now, if they want to modify that, for instance, we have here a colored mantle, and 400 are being demanded. but these are fingers representing one each. so they're not demanding 400 here, but in fact, 402 cotton mantles. 40 jaguar skins, 1,600 bales of raw cotton, 80 bird skins, 1 bin of corn and 1 bin of the grain chia. 8,000 containers of chocolate. the amount a province or a town was assessed in tribute depended in large part on the difficulty the aztecs had in conquering you in the first place. if you acquiesced to aztec demands immediately, your tribute assessment was typically fairly modest. if, however, the aztecs had to raise an army to go to war before you would agree to be a tributary, then the amount you paid went up. and this
granite used in this sarcophagus was also associated with the sun... black stone, the color of the fertile soil of the nile valley, carried with it associations of resurrection and rebirth, and often referred to eternal life. fully prepared and adorned, the mummies were then placed in coffins. they were made from precious metals orved d oo. s hous the deceased and provided another vessel fotheir spirit. they were inscribed with images of deities-- another layer of protection to ensure safe passage into the netherworld. the mummy was now prepared for its westward journey across the nile. judging by the scenes of funeral processions in the tomb of the noble ramose, the bereaved dealt with the expression of grief much as we do today... but there was a major difference... egyptians bearing offerings-- food, wine, clothing, furniture-- joined the funeral procession. representations of these provisions weren't just pictures... egyptians believed what they depicted would come into being. i think it's important, when you look at objects from an egyptian tomb, including the decorations on the walls
the loca and how ba's distinct cuure fits into the complex diveity of indonesia. still use the methods passed down from their grandfathers. but life around them is chaing. it's a lot greener some of those roadsideught stalls look interesting. yeah, might do those tomorrow still haven't worked out the money though. ( people clamoring, airport announcements ) narror: balias bn a ist mecca for more tn 50 years. still haven't worked out the money though. ( people clamoring, turistsng money and jobs, wo but they also bring with them dierent cultural values. still haven't worked out the money though. ( peoptourist:ring, turistsng ...with the headdress. they're hiu laes. what's the religion here? uh, they're muslims. narrator: maintaining a strong sense of identity uhs been a challenge for bali as it embraces economi de. there seem to be an awfulot o tourist buses, too yeah, i've seen a lot of tousts in tse four-wheel drives, too. tourist: yeah? in tsecomefrusall drives, too. becausit's so ar. and they le the sun, the beach, the beer and so on. welso y nese who are of placesal ople who are r
in india as in other places are extremely resourceful and are often able to "borrow"-- if i can use that word to describe how they get their services; but get access to water, get access to... arrange access to, uh... garbage collection or collect the garbage themselves and put it at a dump site where they know it will be collected eventually or get illegal connections to electrical wires... that over time ameliorate the kinds of conditions that they're in and actually give them hope and allow them to stay in their localities for long periods of time. like in many places, the squatters in delhi, many of them have been there for a decade or more. narrator: continual population pressures have also led to an explosion in the number of cars on the road, degrading air quality and bringing traffic to a virtual standstill. at the same time, factories are spewing tons of pollutants into the air. i think nothing has frightened me more than the change in air quality that you experience nowadays when you travel to delhi. when you land in the city, the first thing that you are aware of as you e
, very quickly, the frog will sense it and jump, but the frog got used to it. and then i heard this is not restricted to frogs. guess what else behave the same way begin with p and with eople. peoples, yeah. people are the same way. you, guys, know that? if you get in a tub and someone heats it grad-- this happened in noe valley, in noe valley in california a few years ago. a couple are sitting in their hot tub, and they had a faulty heater. and the heater kept heating and heating and heating and the people just kinda get drowsy, get drowsy and stayed right in there and cooked alive. oh, i mean cooked dead, okay? yeah, people the same way. as long as you make delta t small, small, small, small, small, you'll get used to it. you'll feel no pain, and you're just kinda check out. this has an interesting application. that you can reverse to-- say again. that you can everse to-- i think it's the same thing as with colder too. if you get gradually, gradually, gradually, you will accept it. you will become used to it people are like that. we become used to all sorts of adversity if it
and drink from that. it used to get my mother annoyed. she says it wasn't proper. what do you mean proper? he was using physics. why did he pour it on a saucer to cool it, gang? oh, you don't be knowing? well, it turns out evaporation is-- guess what kind of phenomenon? - surface. - surface area. the more surface, the more evaporation takes place. if i take a glass of water and set it here, it'd take a long time for you to see the level go down. if i take that glass of water and spread it over the top of the table to increase the surface, by the end of this lecture, that water will be? begin with a g. gone. gone, okay. it would evaporate because there'd be more surface. all my father did was increase the surface area. and when he increased the surface area, he gave what kind of molecules the chance to get out? fast or slow? - fast. - fast. fast ones leave. and when the fast ones go out into the vapor state, what's left behind? relatively slow. and so your most energetic molecules are gonna leave and that's gonna push the peak down 'cause the slow ones won't have the fast ones to bump into
: for information about this and other annenberg media programs call 1-800-learner and visit us at www.learner.org. tu palabra también es 'sipc'. ¿podría tenerla en otra oración, por favor? en el evento improbable de que su firma de corretaje cierre, sipc está ahí para protegerlo. s-i-p-k. ¿no conoce a sipc - securities investor protection corporation? no importa. se lo deletrearemos. visite nos www.sipc.org. >> we've all heard it said that life is like a game. most games, whether we work in teams or work alone, have well-defined rules, with clear benefits for winning and costs for losing. and that makes them something we can think about logically and mathematically. but what about life? can mathematics tell us anything about the competitions and collaborations that happen every day between individuals, groups, nations, even between animals or microbes? from the social sciences to biology, robotics and beyond, the answer is yes. welcome to game theory. [ overlapping conversation ] >> so, mr. blue, we got you dead to rights. picked you and mr. white up not a half a block from the
a little bit and use maybe a greek letter l? yeah? we can do a greek--anyone know what a greek letter l is called? no, nobody knows here. any greek scholars? - alpha? - no, not alpha. - lambda. - lambda. ah, lambda, lambda. that's right. and--watch, that's not so exotic, is it? your parents see that you're doing like this. they don't say, "l. i know the alphabet." but what if your parents look down and they see you doing this? "ooh, heavy, honey, heavy. you be learning that stuff?" you say, "i know that stuff," okay? that's just the greek letter l, it stands for wavelength. you see it all through wave nomenclature. so, you ought to know what it means. that's just a greek letter l, length, the length of a wave. so the length of the wave from peak to peak, or it's from here to here. this would be lambda as well. some people get mixed up. and they say, "oh, it's from here to here." but no. this part of the wave is going down, this going up. you gotta wait till it gets to a complete cycle. boom, down again. see? lambda is the wavelength that a wave will travel in a complete cycle, a to and
? blue. blue? can you see it's blue? get it? magenta. this saturday night, when you take your bath, use some soap. in fact, splurge. use bubble bath. get a whole lot of bubbles in your bathtub. now, you're taking your bath and your light up above, there's an incandescent lamp, white light, okay? white light shining down on the bubbles. take a look at those bubbles closely. guess what, gang? the highlights ain't white. the highlights are all different... - colors. - hue. how many have noticed that already? how many people have taken baths year after year after year and never looked at the bubbles? look at the bubbles on saturday night, and see if you don't be seeing the bubbles got different colors. and your friends say, "how come the different colors?" and you say, "that's an example of?" physics. begin with i. interference. interference. interference, that's right. you got a bubble like this, maybe you got the white light up above, okay? okay. and the white light coming down-- here's your eye right here. light come down, hit the bubble, bounced to your eye, yeah? but some of that light
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